Psy For Me
by EMLee
Summary: When Max let people out of Manticore, she also let out children, more easily preyed upon than grown children. Some of those kids were psy-ops. This is the story of one and her MAXimum deliverance.


(In bg, newscast with Jampony Hostage Crisis. In foreground, a child sits in a window seat and is watching television. She is quiet and absolutely still. A picture of Alec is shown in the corner of the screen as the newsreporter explains the situation.)  
  
NEWSCASTER:  
  
Earlier today, this Jampony Messenger was taken hostage and dragged into the Jampony offices by two transgenics.  
  
DREA:  
  
Alec! Oh heck!  
  
NEWSCASTER:  
  
Crowds are gathering outside the building as police surround it. Now, we'll take you live to the situation.  
  
(Fade back in time to Manticore, alive and well. In the Psy-Ops Level, we see Alec getting the red laser treatment. A character we will later know as Ian stands there watching with a grim smile on his face He injects something into Alec's arm and the graph machine hooked up starts to move. Alec's fingers move and then they calm down and the graph machine stops.)  
  
IAN:  
  
You're a stinking rat, a plague, a disease that could infect the rest of your kind. How could you betray your own kind, Alec? (He turns a knob, increasing the intensity of the laser. Alec writhes in pain, and the graph machine spikes. Note the spike for each increase.) See, how you squirm? You're a snake Alec. Admit it. Admit it!! How could you betray the mission, Alec? Your duty was to kill Beresford. (He turns the knob more and Alec grits his teeth in pain) You are a nasty traitor without honor, a coward who could not fulfill his own mission. (He turns it more, grinning wider each time.) A traitor. (more) You remember what a traitor is, don't you, Alec? You remember what we do to traitors? (As he turns it to maximum, Blood trickles from Alec's'eyes and the spot where his teeth are clenched upon his lips, but he makes no sound. Cut to Lightning flashing from a pair of brilliant blue eyes. The machine is destroyed, and Ian, turning only slightly, not really enough to see the shadow of a small child that the camera sees, says quietly, menacingly) Drea, go back to your room. You know the penalty for disobedience.  
  
(We see from Alec's POV, a small shadow disappearing quickly, his eyes drift closed)  
  
(Cut to int. loft apt. a child's hand steadily drawing a picture of Alec with the hostage crisis footage on a television in the bg.)  
  
(cut to Ext. It's nearly pitch black dark in a back alley in the early hours of the morning, She and Rafe are talking outside his fire escape window)  
  
MAX:  
  
I appreciate this. It won't be easy for you, I know.  
  
RAFE:  
  
Look, it really explained a lot when I found out. I know folks from Manticore aren't what they say on the news. I'm sorry you guys have to go through this. If someone needs a place to crash on the way to you and yours, I'll do whatever I can to help.  
  
MAX:  
  
Someone told me once that freedom isn't free. It's cost us a lot, but it's worth it. I just wish…(pauses, looks down at the dark alley below) Never mind; there are a lot of things I wish. (leans forward and kisses Rafe on the cheek) Thanks again for your help. You know where to contact me.  
  
RAFE:  
  
No problem. Good night, Max.  
  
(Rafe closes the window and goes to bed. Max glances at her watch. It's 3:45 A.M. She continues down the fire escape and begins watching a back alley door as it opens, and the man we know as Ian exits and clearly deposits a large packet of white powder in his front shirt pocket. A lady is on his arm, and he shoves her to the wall, his hand upon her throat. He squeezes fairly tightly and kisses her roughly. He trails sloppy kisses down her neck and takes a fierce bite on her collar bone. This guy is sadistic.)  
  
PROSTITUTE:  
  
(prying his hands off her neck) Not now, baby. You gotta pay before we can play. (She takes her hand and slides it around his waist so that her pelvis is pressed temptingly to his. He slides his hand down to her wrist, and pins her securely with his hand and the rest of his body back to the wall while taking his other hand and getting the money out of his rather cash- filled pockets. After placing the money in her hand, he forcefully kisses her again. From behind his neck, the woman signals to a man in the shadows. The man easily knocks Ian out, and attempts to rob him. Max comes from behind.)  
  
MAX:  
  
Not that I really care, but what did this poor idiot do to you?  
  
MAN:  
  
It ain't none of your business. Just pretend nothing happened and go. If you don't, you're gonna to get hurt. (Max continues to walk toward him) Look, I warned ya once. (She blocks his arm as he reaches threateningly to her.)  
  
MAX:  
  
First, I'm not good at pretending, and second, I'm not the one who's going to get hurt. (The prostitute immediately jumps on her back, but Max throws her off and she lands on the side of the brick wall and is just as unconscious as her victim, or is pretending to be so. Next, Max lands two fierce punches, one to the man's jaw and one to his abdomen. She follows up with an uppercut that sends him flying backwards).  
  
MAN:  
  
You, bitch, you ain't no woman. You're one of them transgenic freaks ain't ya? Well, damn, if I'm gonna let one of you get me. (He comes at her with renewed strength and anger. She kicks him in the side of the head. He falls back against the wall, grabs a nearby crate and throws it. She deflects it and throws it back to him. He staggers and is bleeding, but is by no means done. Coming at her again, he starts to pull out a gun. This time Max kicks it out of his hand, turns, jabs him in the stomach, uppercuts his jaw with her palm, and sends him flying with another kick to his knee. He's groaning and is trying to get up, but his leg is broken. Max goes to Ian and grabs the money out of his pocket. At this, his eyelids flicker)  
  
MAX:  
  
(she flips through the money as he slowly begins to gain consciousness) Just think of it as the fee for saving your worthless life (she takes a majority of the money and puts the rest back in his pocket) Thanks for the donation to our cause.. (She takes the cocaine and destroys the package. Ian growns and reaches for it)  
  
IAN:  
  
God, no, not that. You got any idea how much that costs?  
  
MAX:  
  
Sorry, just say no.  
  
(In bg, newscast with Jampony Hostage Crisis. In foreground, A child's hand steadily draws a picture of Alec)  
  
  
  
(Cut to a young girl, looks like a Syl clone in one of the younger x- series, running through some dark woods, Manticore is aflame behind her. Her head is shaved and she is wearing fatigues. This is Drea. Other shadowy figures are bursting through the woods around her.)  
  
DREA:  
  
(to the fence) Open. (The fence contorts to provide space for her to pass through, and she continues her escape, with a final longing, confused look at Manticore.)  
  
  
  
(Switch to a dark city. Max is sitting on the Space Needle overlooking Seattle, we see that her eyes are trained on Terminal City.)  
  
MAX:  
  
(voiceover): Life takes some unexpected turns. First, you think your life is going to turn out one way. Something happens, and it all turns around. Then something else, and you turn again. Finally, you're lost, you don't know which way to go. That's when everybody expects you to lead them out. I didn't ask for it, and definitely don't want it. None of us asked for it, but they didn't ask for me to let them out either. I created this mess, and now, I've got to deal with it. (She stands and begins walking away, but turns and takes one last look as she runs a hand through her hair.) The question is how do I put all the picture pieces together to help us find our way? There are things I know now, and I don't know how I know. It scares me and it gives me strength. Can I lead them through the darkness when I'm reaching out blindly myself? (A star falls, brilliant in the night, and the reflection is cast in her eyes)  
  
(FADE to a television set, on which appears a newscast. As scene continues, we are in the news studio.)  
  
NEWSCASTER  
  
: Dickens' Oliver has nothing on the thieves that have lately taken to our streets. With the city's attention on the transgenic threat, burglary and street thieves are on the rise, and many of these criminals seem to be children. To comment on the latest crime wave, we are speaking today to Chief Detective Clemente. Sir, exactly how do you plan to handle the situation?  
  
CLEMENTE:  
  
Find them...all of them  
  
NEWSCASTER:  
  
And how do you plan to do that exactly?  
  
CLEMENTE:  
  
Although our police force is actively pursuing all threats to our city's safety, our full commitment is in keeping the streets unharmed for our citizens. It is our plan to fully protect our city and maintain our perseverence in such an endeavor.  
  
NEWSCASTER:  
  
It has been rumored that these children seem to have remarkable powers, that possibly they are transgenics. Can you comment?  
  
CLEMENTE:  
  
If they were or if they weren't, it would make no difference, they are a threat to the safety of our citizens. It is our job to eliminate such threats. Make no doubt about it. We will do our job.  
  
NEWSCASTER:  
  
Thank you, sir. You are giving our city hope in these trying times  
  
CLEMENTE:  
  
It's my pleasure. Thank you.  
  
NEWSCASTER:  
  
And now, we will speak with our city's most notable hero, Ames White  
  
(Off camera, at the television studio, Clemente removes his microphone and gets up to leave. As he passes Clemente, directly after the newscaster mentions "most notable hero," White smirks, and Clemente raises an eyebrow, as if to say, "Yeah bud, but I know what kind of a hero you truly are." Clemente picks up a roll of tape from a desk and looks at it with interest, and as White walks stiffly away, Clemente walks the other direction in wry slightly amused, slightly antagonized posture, as he does so, a light flashes on his cell phone, and he answers).  
  
CLEMENTE:  
  
Ramone Clemente (pause, listens attentively). So tell me they are all rounded up and you're in the process of calling all their "mommies and daddies." (pause, angry grimace. If this were his office, he'd be shouting.) You let the little thieves get away? (pause) So thank heavens for small favors. Does she have a bar code? (Nods.) No, not having one is good. Of course, it would have looked better for you guys if you'd gotten your asses handed to you by a bunch of transgenics, instead of just a bunch of street kids, but we don't need any more of our mistakes in the news. (pause) No, lately we've just looked like a bunch of Sesame Street cast- offs, especially with White heading things during that hostage situation. (pause) Did she give you her name? (pause) Erika? OK. Well, put her in a cell, call children's services. I'll be there as soon as I can. Maybe we can wrap up this Oliver Twist gang soon and get on to more important matters, like figuring out how to stop a war.(Hangs up and rushes out of the studio. As he does so, Sketchy can be seen in the shadows, watching Ames White. He's trying to get a story, and maybe help out a friend as well. Focus on him before fading out.)  
  
(In bg, the television plays the interview with Ames White. In the foreground, a child's hand draws a picture of Ames White)  
  
(Fade back to the escaping girl, who now emerges from the edge of the woods, near a fairly deserted highway as the sun is rising. A decent, but well-used car pulls up)  
  
DREA:  
  
(halting in her running to look back, and slowing enough for the car to pull alongside her) Sir, I-I'm sorry, I didn't know what to do.  
  
IAN  
  
: It's all right. Just get in the car. I'm going to need your help rounding up the others  
  
DREA:  
  
Yes, sir. Would you like me to try now? (She sits straight back in the seat, ready to do as she's told).  
  
IAN:  
  
No, not just yet. You're too tired, and you can't do anything in this condition. (He smiles at her, but it's less friendly than calculating). Perhaps you should just go to sleep.  
  
(Drea leans back in the seat, fully trusting. She lets her eyes drift closed as Ian reaches into his medical bag for a syringe. She hears him, and her eyes flutter open. His hand positions over the door locks as he injects the needle.)  
  
DREA:  
  
Please no, sir. What did I do wrong, sir? (She tries to move to pull open the door, but her legs go nowhere.)  
  
IAN:  
  
(Camera focuses on black smoke rising up behind the forest.) You didn't go to ground, Drea. You were supposed to stay hidden or suffer the consequences. I told you before. I can't let you go.  
  
(Fade back to the television and Ames White speaking to the reporter while the camera pulls back, and we see a red MUTE flash to the screen. Pull back further to a warehouse loft apartment. Chairs are set around like a youth rec center, but currently there's only one child sitting in the window with an artist's sketch book in one hand and a remote control in the other. She's pale, thin, frail-looking and the same eight-year-old child we saw running from Manticore at the beginning of the episode. After setting the remote control down, she continues to draw. Zoom in to artist sketchpad. We see her finishing the picture of Ames White. She draws a sort of jagged black line around him with increasing depth and pressure, as if this evil blackness is his aura.)  
  
DREA:  
  
The man sucks.  
  
IAN:  
  
What sucks? (He comes in with two paper bags full of groceries and one full of toys, video games, etc. His face is slightly bruised. Note through this scene that there is a marked contrast between Drea's and Ian's attitudes toward each other now than there was when he first picked her up after the destruction of Manticore. Drea is more antagonistic. Ian is obviously, but generally cautiously manipulative. Above all, he is a sadistic, self- seeking SOB, and Drea has begun to realize this.)  
  
DREA:  
  
(Not truly surprised at his entrance, she gestures vaguely to the television and resumes drawing) Nothing concerning you. (she looks at his bruises) What happened to you? Another rough night? (sarcastically) Perhaps you should stay out of that side of town. Seems you were safer at Manticore. (He touches his face but ignores her question)  
  
(Ian draws closer. From his POV, we see that Drea is sketching a picture of Max. Ian grabs the notebook and as Ian flips through the book, we also see Alec, Max, Joshua, and White, in reverse order. Ian pales, stops at Alec. Quick image of Alec's torture. He slams shut the book).  
  
IAN:  
  
(turning back to the television to give himself time to recover, and shrugging) Not a bad likeness. Anybody I ought to know? (He hands the book back to her, as he reaches into a bag and pulls out a syringe.)  
  
DREA:  
  
(Looks at him, and then at television, considering) Not yet. Just saw them on television last week, you know that hostage thing. This guy, he's got something to do with it all. It's just not my best skill. I can't quite get the picture to come together. When I know, I know. Everything else is just foggy.  
  
IAN:  
  
You weren't made to know that. You were made to gather information, to change minds, to manipulate objects, destroy them, if you have to. (He's digging in his bag)  
  
DREA:  
  
Look, Ian, why don't we just get out of here? Find some place. I want to go to school. I want to be normal. I don't like using those kids that way. Besides, it makes me tired.  
  
IAN  
  
: First of all, you'll never be normal. You were bred and reared in a lab. Secondly, they're just dirty little street kids. They don't have any one else to care for them. We give them something special, and you help them improve their skills, and in return, they help us. (When he looks back at her as he approaches with the needle, her head tilts and she smiles. IAN stands for a moment, transfixed by Drea's eyes. We hear a change in the soundtrack during this interchange. For the rest of this episode, an asterisk will denote when all this happens. ** Begin to pull in towards Ian, blurring edges)  
  
DREA**:  
  
I give them something special, Ian. I think it would be nice if you worked for a change, stopped punishing me with that syrum, cure me from it, and let me walk. (He starts to nod, to put back the syringe, and she smiles).  
  
IAN:  
  
(Pausing, Pulling back, and shaking his head in warning at her) Don't think about it, Dre. Remember, sweetheart, only I know the cure. Without me, where would you be? I'm only trying to protect you, to keep you strong.  
  
DREA:  
  
Yeah. Me, too (She looks away out of the window, disappointed that she can't stop him without somehow harming her own welfare) I was stronger without it, Ian. I want to walk. (she grits her teeth as he injects the liquid into her thigh, and says tightly through them. Her voice gets stronger as she goes.) I'm not sick ! I didn't do anything wrong! Stop it! (At this tirade, Ian jerks back, as if from a poisonous snake. Indeed, Drea's eyes flash like a lightning burn in anger, but the flash weakens quickly and fades tiredly out as the syrum takes its effect. Drea leans back in the seat, and falls into a deep sleep) (as she falls to sleep) I didn't do anything wrong. Don't punish me. Let me walk, please.  
  
( Ian looks at the syringe needle and smiles. Fade into next scene as he tosses the needle in the trash, grabs a bag full of money and jewelry and leaves).  
  
  
  
(Alec is throwing away a piece of paper, and trying once more to trace over a plan of the sewers. He seems frustrated. TCHQ is busy as usual, with preparations for war. Joshua is off in a corner talking to Mole while Alec is looking at layouts of Terminal City sewer system.)  
  
ALEC:  
  
This line seems a pretty reasonable escape area. It joins up with the sewer line the city shut down a few years ago. It could bare some investigating, but...(turns to see Joshua in deep conversation with Mole) Joshua, .(louder) Joshua..(Joshua looks up, just as Max enters)  
  
MAX:  
  
Knock, knock! Hey, guys.  
  
JOSHUA:  
  
Hey little fella!  
  
MAX:  
  
(To Alec, tossing him a bag of doughnuts) OK, let's roll, hotshot.  
  
ALEC:  
  
Thanks, but I'd planned on spending the day with someone else today.  
  
MAX:  
  
(backing off a little) Well, don't let me be the one to interrupt a hot date. So, who is this--?  
  
JOSHUA:  
  
(quickly approaching the two of them as Mole stands waiting in the doorway) Sorry, Alec, I'm not going to be able to go. (Max laughs)  
  
ALEC:  
  
(shooting her a "go to hell" look, and then concern covered by pretense of casual asking) Anything wrong?  
  
JOSHUA:  
  
No, just Mole wanted to show me something.  
  
ALEC:  
  
(shrugs slightly and casts a glance at Mole, plan B) Okay, what is it you want, Max? Seems I have some free time I wasn't expecting.  
  
MAX:  
  
I thought we'd help set up some of the safe houses.  
  
ALEC:  
  
Okay, (grabbing sewer maps and affecting a Normal tone) bip,bip,bip. Let's just get on with it, people.  
  
(As they turn, see Ames White in bg on television. One of the transgenics throws a trash ball.)  
  
  
  
(At the loft, children begin filing into the warehouse and slumping into empty seats. They each dump bags with piles of loot on the table. Ian stands by Drea with his hand stroking her short golden hair. In public with these children, his meal ticket, his whole attitude has changed. Drea looks up at him with large angry eyes. He lifts her and places her in a chair among the children, like a queen among her peers.)  
  
DREA:  
  
Thank you, my friends. (Her voice is weak) I don't know what I would do without you. Perhaps soon, I can have the surgery. If you'd like, there is food set out in the kitchen. Plus, I sent Ian out for some video games. I'd like to give my private thanks to each one of you alone. Ian (she turns to him so that only he can see the angry spark in her eyes), please take this to the office.(She gestures to the table items)  
  
IAN:  
  
Yes, miss, will that be all?  
  
DREA:  
  
For now, (she grins mischievously) just be prepared to come when I, or one of my friends, call you.  
  
IAN:  
  
If that is your wish, miss.  
  
DREA:  
  
It is. (Ian heads to the office with the money and leaves along with the other children. One boy stays, and Drea turns to him.) Okay, Mark, let's do this.  
  
(She holds his hand, and stares into his eyes, smiling and slightly tilting her head. **)  
  
DREA**:  
  
Thank you, Mark, you are truly gifted. Your hands are so careful, you can not be caught, and if you are, you can run like the wind. For such talents, I can give you a gift. Would you like it? (He nods) Then, you may ask one wish.  
  
MARK:  
  
More'n anythin' I wanna fly.  
  
DREA**:  
  
Trust me? (Mark nods) Then, fly. (Drea clasps his hands tightly before releasing him to float for a few minutes around the room. He settles back down flushed and excited.)  
  
MARK:  
  
Please do it again.  
  
DREA**:  
  
Perhaps tomorrow.(She pauses, looks back at the door Ian entered) I have a wish. It would be nice if...  
  
MARK:  
  
Is it somethin' I can do?  
  
DREA:  
  
More than anything, I do wish I could go outside, just once.  
  
MARK:  
  
If we get enough, maybe you be able to one day  
  
DREA:  
  
(looking again toward the door through which Ian left, considering) I hope so. I don't know how much more I can stand.  
  
MARK:  
  
I try to do better tomorrow. I swear, I get twice the stuff, three times, I got today.  
  
DREA**:  
  
(turning her head back, gaining eye contact, remembering her job) That's all I ask, Mark.  
  
MARK:  
  
(takes a blanket to cover her legs) Sometimes, I wish you ask more, Dre. I lost until you 'n' Ian foun' me. I do anythin' for..  
  
DREA:  
  
(tiredly, not looking at him) Don't tell me that. Especially, don't tell Ian that. Look, why don't you just go back and join the others. Send in Erika, if you would.  
  
  
  
MARK:  
  
She not here. She just didn't believe enough. (Drea looks, seeking explanation). She got caught. (Drea nods and turns back away) God, Drea, don' look like that. I won' get caught, I swear. I believe in you. I prove it, just ask. Whatever you want, I do it.  
  
DREA:  
  
Look, Mark, I told you not...(her eyes fall on the sketch pad. **) Come. (She raises her hand and the pad floats to her**).  
  
MARK:  
  
(breathy) Man, that--that the shizit, fo real, man.  
  
DREA**:  
  
(trying not to roll her eyes as she stares into his) Ian must never know what I'm about to tell you. (She leans toward him while tearing out a page from her sketchbook).  
  
(The scene fades out with Mark taking up the torn page and heading out the door.)  
  
  
  
  
  
(Open to television set)  
  
NEWSCASTER:  
  
In sector four today, the police closed in on the juvenile thieves in an attempt to detain them for questioning (Picture behind her shows police holding high powered rifles on impoverished, frightened children in an alley). Although some of these children managed to escape, there was one brought in. Due to the child's minor age, we are unable to reveal her name. This we were able to learn. The child has no barcode, so rumors of an attack of transgenic children may be put to rest. According to authorities, these children were simple street thieves. Police say they are doing everything they can to round up..  
  
(Pull back to show dark, shabby living room of a house mid-city, a blonde is sitting in a chair with her eyes focused on Alec. She smiles tentatively at him and slowly turns her head to see Max and OC sitting nearby, watching her. She gets up and looks out of the window into the street.)  
  
ASHLEY:  
  
No one ever paid attention to his barcode before that dogman thing. They just thought it was some weird tattoo. You know, he was the best thing that ever happened to me. He saved me from a lot that went down the night we met. I could have been raped, could have been killed, but he was there like some sort of dark angel out of the night. He wasn't bad, not like the news made him out.  
  
(Max stands and puts her hand on ASHLEY's shoulder.)  
  
MAX:  
  
Biggs talked a lot about you, too.  
  
ASHLEY:  
  
I just can't believe they took him like that.  
  
MAX:  
  
Just a dumbass play. They wanted to be hot shots.  
  
ASHLEY:  
  
Whatever, I'm in it now. Anything you guys need.  
  
ALEC:  
  
There'll be x-s coming through needing a place to stay, a safe way to get us.  
  
  
  
OC:  
  
Kinda like that underground railroad, y'know.  
  
ASHLEY:  
  
Yeah. You want me to be a stop on the way, a guide to like the promised land, or something.  
  
ALEC:  
  
Something like that. It isn't the promised land, but it's the best we got.  
  
OC:  
  
At least it's somewhere safe for you and my boo.  
  
MAX:  
  
We will try to be there to help you in any way we can. Can't say it won't be dangerous, though.  
  
ASHLEY:  
  
I'll do it. Biggs was a great guy. We needed more people like him around this godforsaken city.  
  
MAX:  
  
Thanks, Ashley.  
  
(Max is walking down the sidewalk with OC and Alec.)  
  
OC:  
  
Well, that's one down. How many more to go?  
  
ALEC:  
  
Not enough.  
  
(Max is not really listening to them. Her eyes are trained on something far down the street. Narrow to cat's vision, and we see that she sees two kids nab a man's wallet as he passes up the sidewalk. One of the kids is a female called AYAH. The other kid is Mark.)  
  
OC:  
  
There is that one man in sector six willing to put a couple of people up, but I doubt Max would want to…Look, girl, are you even listening? (Following Max's eyesight. They're close enough now for her to see it) Look at that! Damn, he's good. Got that right under the man's nose.  
  
MAX:  
  
Hey! (As she closes in) Hey! Uh, children? We need to chat.  
  
(Max runs after them. Mark, the one with the wallet, hurries into a side alley, where Max chases him. OC and ALEC follow the girl to the warehouse/loft where they live. Knowing where she is, ALEC leaves OC to watch the building and then backtracks to find MAX. We see MAX has the boy backed into the corner.)  
  
MARK:  
  
Damn, she tol' me you be here. She never wrong.  
  
(MAX narrows her eyes on him and grabs the wallet away. ALEC has returned and leans his shoulder against the wall in the back of the alley, a guard in case the kid escapes, as if that would happen, and a nonchalant bystander at the same time.)  
  
MARK:  
  
(to Max): I sposed t'talk to you. See if you help. She be aiight if you help. She tol' me so. She also tol' me t'tell you she knows where others is.  
  
(MAX looks to ALEC. The kid draws the sketchpad papers out of his pocket. He cautiously steps forward and hands the papers to MAX.)  
  
MARK:  
  
This you, right?  
  
ALEC:  
  
Hey, what is this? Who's this girl? (referring to the one who drew the pictures)  
  
MARK:  
  
Drea been sick for a long time. Her parents dead and she got a butler to take care of her, but she need money for surgery, so's she can walk again. We kinda been helpin her out and she do us little favors, like wishes, y'know.  
  
ALEC:  
  
Drea? (The kid nods, and Alec steps forward, interested) What kind of wishes?  
  
MARK:  
  
Cain't tell you. It all secret, but she can. She want to see you, but likes I said, she cain't walk. Ol' Ian's got her cooped up.  
  
ALEC:  
  
Ian? (Alec balls his fist. He seems antsy, and starts to leave the alley, knowing Max has this under control)  
  
MARK:  
  
Yeah, you know, the butler. The others they don't care ol' Ian don't treat her right, but she talks to me, y'know.(Take beat off Max and ALEC shared look)  
  
MAX:  
  
Why don't you show us?  
  
(Mark backs further away into the alley)  
  
MARK:  
  
Can't. Ian deadly, y'know. He gots him a black bag. Thinks he a doctor or something, but he sure cain't fix Dre's legs.  
  
MAX:  
  
Look, don't go back there tonight. You see that house down the street? (she points out Ashley's house) Ask her if she'll put you up for the night. Tell her Max said it would be all right, and I'll be there tomorrow to explain. (The boy nods, and Max turns to follow Alec, who is quickly walking away). Hey, wait up!  
  
ALEC:  
  
Don't worry about this one, Max. This is my business. You understand. This Ian, I take him down.  
  
MAX:  
  
This little girl, you know her?  
  
ALEC:  
  
(nods briefly) Psy Ops.  
  
  
  
(As Max gives a slightly curious, surprised look, Alec backflashes: fade to memory. We see Alec wake up in a cell. His vision is blurry and sees a shadow run by. Alec is alone in his room/cell, weak, and in miserable condition. A small shadow passes again in front of his door. A delicate long fingered child's hand is placed on the door frame.)  
  
DREA:  
  
(softly from behind the door) You were bad?  
  
ALEC:  
  
So I'm told.  
  
DREA:  
  
When we're bad, we get shots. Did you get a shot?  
  
ALEC:  
  
Yes.  
  
DREA:  
  
(coming into view. Her head is shaved. She is six.) Were you made in a lab, too?  
  
ALEC:  
  
(smiling) Weren't we all?  
  
DREA:  
  
Ian wasn't  
  
ALEC:  
  
Ian's not normal.  
  
DREA:  
  
(she grins, liking that idea, and comes close enough to touch him) Ian is afraid. He doesn't want me to look inside him. He'd rather I move stuff for him, but he's afraid. He hates me because of what I can do. (Alec is interested, and too weak to really stop her. She puts her hand on his eye, and the wound closes very slightly).  
  
ALEC  
  
(touching his head): Are you medic?  
  
DREA:  
  
(shaking her head) No, it's not my best gift. I wasn't made to do that. Ian teaches me to change minds, to gather information. He says we're the ones to change the future. He says people out there are bad.  
  
ALEC:  
  
Some are. Some aren't. (He wants to say that some of them are bad at Manticore, but he's only just beginning to solidify that idea himself).  
  
DREA:  
  
So we should work on ways to force them to be good, like giving the shot. It hurts. It makes me sleepy, and I can't read brain waves that well after, just kid waves, and only if they want it.  
  
ALEC:  
  
You read them? Like a book?  
  
  
  
DREA:  
  
Like a picture story. It's not what I'm best at. Ian says I'm a reject because I can't do it as well as the others, but he teaches me to use what I'm good at. If he didn't want me in his lab, Ian says they would have let the nomlies eat me because I'm not so good, like the others.  
  
ALEC:  
  
What you're best at? What's that?  
  
DREA:  
  
(shaking her head) I can't tell. He says one day it will be a surprise, and then, they'll want me. I'm his secret weapon.  
  
ALEC:  
  
Can you whisper it in my ear? (Drea shakes her head, solemnly, and Alec smiles at her) Well, (there's a noise, as of people coming, and she squeaks and runs off).  
  
  
  
(In the warehouse/loft, Ian is talking to the children. Drea is seen again at the window seat half paying attention to them and half paying attention to the street outside. When she sees Max and Alec at the door, she mouths the words **"OPEN," and the loft doors open. AYAH is sitting in front of Ian, and he's stroking her hair like he did Drea's in an earlier scene. She looks up at him almost like an adoring puppy. As the scene continues, we see Max and Alec enter the room and listen before making their move.)  
  
AYAH:  
  
I told him there too many people round and about, but he did it anyway. I's almost got caught. Mark's back there, probly beaten to a pulp by now.  
  
IAN:  
  
We'll go out and find him.  
  
(He gestures to the table and everybody puts money and other goods onto it.)  
  
SECOND GIRL:  
  
Ain't we got enough by now?  
  
SECOND GUY:  
  
She look like she gettin' weaker. I mean how much longer she gonna be able to get us wishes if she don't have the operation to make her stronger?  
  
IAN:  
  
It's all those favors you've been asking of her. You all need to let her rest tomorrow. Perhaps she'll be cheered up more if you donated more. You think this meager chump change is enough for the type of surgery she needs, just think again. This is post pulse America. There are no more cushy HMO's. (the kids look confused and Ian shakes his head)  
  
SECOND GUY:  
  
It all we can get, we-  
  
IAN:  
  
(angrily): Whatever. (To Drea.) They are trying to help you. To take care of you. Do you think you can possibly . . . What are you looking at? (He notices she suddenly looks stronger and he doesn't like this, perhaps the syrum is wearing off, perhaps...His look sharpens on her.)  
  
DREA:  
  
(softly, in a way, this is his last chance. She's already let the enemy in. If this father-figure can redeem himself,...): Nothing. I'm sorry I wasn't paying attention. I just want to go outside, just once.  
  
IAN:  
  
You're sorry? (To AYAH) She's sorry. Mark is out there somewhere trying to help her out. You are all trying to help her out, and she can't be grateful enough to pay attention? Her highness can't even offer one small favor to a girl who risked her neck to help her out? One small wish? (He rolls his eyes in mock dismay) You'd like a wish wouldn't you, Ayah, after all you've- -  
  
DREA**:  
  
(Her eyes spark in anger, and she waves her hand, and Ian's lips are stuck together) Just shut up! I'm tired of hearing it. I'm tired of being stuck like this. I'm just tired, ok? You're all tired, too. Go to sleep. (The children begin to yawn and stretch themselves out on the couches. Ian is able to speak as soon as Drea's attention goes to the other children)  
  
IAN:  
  
Let me ask you something. What were you thinking just now? Did you really think you'd get away with something like that without paying for it? DEARLY! Do you really feel like eating today? Do you, you little reject? (He approaches her menacingly) Without these kids, you starve. Just think about that.  
  
DREA:  
  
I'll say it once. Back off, Ian. You could always go out and get a job like a normal human being.  
  
IAN:  
  
Why? When I have you to give them what they want, so they can get me what I want?  
  
  
  
DREA:  
  
(quietly and almost strangely menacing): I don't know why, (her eyes drift behind him) so why don't you ask the people behind you.  
  
IAN:  
  
What? I didn't quite catch that.  
  
ALEC:  
  
Then, catch this. (He throws a kick at Ian's head as he's turning around. Ian falls to the ground, but swings a kick at Alec's legs, which imbalances Alec but he doesn't fall. He lifts Ian up by his collar and swings him against the wall, where he staggers and tries to come at Alec again. Alec is in military attack form when suddenly, Ian stops.)  
  
IAN:  
  
Alec.  
  
MAX:  
  
(Her eyes are on Alec still in fighting stance, as she walks over to sit by Drea) Well, give the man a cookie. (Ian takes a step back, and then another, until his back is flush against the wall.)  
  
IAN:  
  
Drea, bring them down. (He looks at her in a sweet, fatherly manner). Do you remember the lightning bolt? It will kill them both. (Drea recoils in disgust and Ian changes tactics. He's angry, bitter, and terribly ugly) Do it. Do it now. Look girl, I saved you from Manticore. You owe me. (threatening) I'm the only one with an antidote. You'll never walk again without me. (Drea hesitates, looks between them, but winds up shaking her head. She won't do it. She knows that she'll never walk again with him.)  
  
DREA:  
  
I don't want to be here anymore, Ian, whether I leave here on my own feet or not. I've had enough. It's time you took your own medicine. (Beat one, Ian looks at Drea, not really shocked, somewhat angry. Beat two, he looks at Max, scared as hell, right before he runs directly into Alec's arms)  
  
ALEC:  
  
Where you going, Ian, my man? (He twists Ian's arms behind him, and whispers) You're a traitor. You know what we do to traitors.  
  
IAN:  
  
(shocked at being caught and seeing someone whom he'd previously tortured in PSY-OPS --switch to a quick view of IAN's face as he stands smiling over Alec being tortured at Manticore re: Berrisford-- back to Ian's face, scared) Alec, I— (Alec holds Ian's wrists with one hand while Max digs in her backpack and throws him some duct tape. Alec promptly wraps the man up.)  
  
DREA:  
  
(Her eyes fill with tears as she looks at her legs.) Now, (her eyes turn to Max and then to the sleeping children) what do I do with them?  
  
MAX:  
  
Send them home.  
  
DREA:  
  
And what about me? I don't have a home.  
  
MAX:  
  
Yes, you do.  
  
  
  
(Back at TCHQ, in the bg Drea is settled comfortably in Joshua's lap. She is petting his hair, and has developed an immediate liking for him as many children do with dogs. Joshua seems to be enchanted with this doll-like creature. In this view of her, we see the eight-year-old child we should have seen all along. In the foreground, Max is talking to Logan)  
  
LOGAN:  
  
So once the syrum wore off, she could walk?  
  
  
  
MAX:  
  
Yeah, it was the only way he could control her, to keep her tied to him, so he could use her.  
  
LOGAN:  
  
So what happened to him?  
  
MAX:  
  
Ian is in police custody. The children are in foster care. Not the best solution..  
  
LOGAN:  
  
But it's still better than what they had.  
  
MAX:  
  
(remembering her days in foster care) Maybe.  
  
LOGAN:  
  
And what about Drea?  
  
MAX:  
  
For now, she stays here. Where else could she go with the world against people like us? She's best staying with her own kind.  
  
LOGAN:  
  
(noting ALEC in the bg) It's probably the best thing, then.  
  
MAX:  
  
(swallows painfully) Yeah, right. Well, gotta jet. Drea wanted to tell me something about the tactical advantage of telekinetics. (She shrugs and smiles, not really sure of the necessity of what she's about to hear, but willing to humor the child)  
  
LOGAN:  
  
Sounds interesting. (notes Alec's approach) Be seeing you.  
  
(Logan clicks off screen, and Max leans forward to let her fingers brush the screen for one minute. Alec comes up to put his arm around her shoulder. They hug.)  
  
(Meanwhile, Logan sits alone in Joshua's old house. He stares forlornly at the screen. He is alone. Fade out.) 


End file.
